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Unit 4 Folk Forms As Protest

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Unit 4 Folk Forms As Protest Documentation, Preservation and UNIT 4 FOLK FORMS AS PROTEST Conservation of Culture Structure 4.0 Objectives 4.1 Introduction 4.2 Protest 4.3 Folk Forms as protest in history 4.3.1 Folk ballads and folk songs 4.3.2 Revolts, insurrections and folk forms 4.3.3 Folk cults, bhakti and protest 4.4 Women's protest against patriarchal authority 4.5 Festivals and folk expressions of protest 4.6 Folktales of lovers as protest 4.7 Outlaws and notions of protest 4.8 Let us sum up 4.9 Activity 4.10 References and further reading 4.11 Glossary 4.12 Check your progress: possible answers 4.0 OBJECTIVES After reading this Unit you will be able to: x understand the relation between folk forms of expression and protest; x distinguish between open and covert forms of protest; x identify various kinds of protest against power and authority (social, politi- cal, religious etc.); and x recognize the subversive potential of folk forms whether they are live per- formances, literature or oral traditions. 4.1 INTRODUCTION Rabindranath Tagore wrote, "We may discover in these folk-rhymes many a trace of joy and sorrow, pleasure and pain…coming down the ages. Entwined in their broken rhymes one may still trace many a tale of hurt and suffering." ('Gramya Sahitya' 1898, Translation, Khsitish Roy). One could add to this the element of protest. Folklore records the real life of the common people with uncomfortable fidelity which also reflects their protest against authority or existing social struc- tures sometimes directly, sometimes indirectly. Folk performance including music, dance, religious and non-religious pageantry, puppetry etc. has been used by folk artists to voice their protest against existing power structures. Folk forms are characterized by simplicity and spontaneity which are their hall mark. These forms arise from, and are part of, the lived life of the performers. 162 Naturally, these also register their simple and spontaneous feelings, including those of protest. Folk forms are the artistic expression of the people. They are Conservation and Preservation: Some produced by and cater to people sharing a sense of belonging with the same Ethical and Legal community. Sharing the same or similar identity and sharing grievances against Issues some authority or power creates participative forms of expression. Folklore is not a fossilized thing of a hoary past. Its evolution is a continuous process and therefore can become a vehicle of people's aspirations, anxieties, joys and sorrows arising out of their lived experience. It is because of this that folk forms are capable of lending themselves as vehicles of protest from time to time. As eminent folklorist, Sankar Sengupta observes in his book, Folklore and Folklife in India, "… sometimes in hardships and struggle also some forms of beautiful and everlasting art emanate." 4.2 PROTEST Protest, broadly speaking can be of two kinds, open and covert. Open protest can take the form of clearly or openly voiced dissent or gestures of protest. Covert protest can exist in various hues. Lamentation, subversive laughter and ridicule can be some expressions of covert protest. Folk forms spring from the heart of the folk or common people and reach out to the folk. They are alive and sensitive to the feelings and emotions of the folk. Being an ongoing process which records the narratives of an individual engaging with the social space available to him or entire communities seeking to assert and identify themselves, the folk form has great elasticity. Folk forms go on acquiring new strands of thoughts, ideas and issues which sometimes may burst into gestures of protest. Protest can be under- stood as both the desire to question the authority of social, religious and political structures and the expression of this desire whether spontaneously or through organized display such as protest marches etc. Let us see how Folk forms can voice or constitute protest. There are instances of registering an open protest. If we look into the social content of the folksongs it becomes apparent. Hemango Biswas writes, "A purely academic and conservative approach to folksongs often overlooks and even ig- nores one of its most human aspects-the 'protest songs', which express in varied forms the struggle of our oppressed people through the ages against an unjust social order". 4.3 FOLK FORMS AS PROTEST IN HISTORY 4.3.1 Folk Ballads and Folk Songs Folk ballads on heroes of particular regions and communities bestow a mythical status on folk-heroes who overthrew powerful rulers, both Indian overlords and colonial masters and their representatives. These ballads valorize protest and defiance as can be seen in the ballad 'Resma'. This is about Chauharmal, a Dushad hero born at Anjani near Mocama (Patna), who, with the help of goddess Durga, defeated Ajabi Singh, a notorious landlord. Chauharmal is worshipped by the Dushads and an annual fair is held near his wrestling ground. 'Lorikayana' cel- ebrates an Ahir hero Lorik who killed an evil king Malaygeet. These folk forms are instances of rich communicative ways within a community. Folk ballads have been greatly effective for articulating as well as spreading protest at various junctures of history. For instance, Kabig?n in Bengal was used 163 Documentation, effectively to stir popular protest against the British colonial oppression in Ben- Preservation and Conservation of gal. Mukundadas, an eminent singer costumed as a traditional folksinger or C?ran, Culture swept the countryside with his patriotic songs sung in the Kabig?n style. This style was replete with the simple language-idioms and melodies of folksong. The effectiveness of his protest can be guessed by the very fact that the British had to stop his performance, arrest him, and throw him into prison. Similar use was made of popular ballad or ballad-like forms in various parts of the country during the colonial era. Mention may be made of Laavani in Maharashtra, Alha in Uttar Pradesh, Gee-gee in Karnataka, or Villupaattu in Tamil Nadu. J?tr?, a traditional folk form, had been widely used during the pe- riod of nascent nationalism to spread the ideas of patriotism and the injustice of foreign rule. The renowned author Raja Rao shows in his novel Kanthapura how popular performances like Hari-katha were used by young patriots in the remote far-flung countryside to spread the message of Gandhi and the freedom struggle. History and folklore are bound to impact on one another. Much folk art, litera- ture and song arose from real historical events. The many peasant rebellions during the early phase of British rule in India provided such impetus. The British during the early period of their inroad in India faced stiff resistance from the tribal people who positively grudged encroachment on their basic rights. Tribal communities and ethnic people who had no experience of being 'ruled' by any authority beyond their own head/chief and had held rent-free land for genera- tions in exchange of service to the landlord, were suddenly forced to pay rev- enues. Taking cover of British patronage the zamindars also sneaked in for their cut. The ensuing protests and challenges by these desperate people were ruth- lessly crushed both by colonial masters and their representatives. The folklore of these regions retains the memory of these unrecorded tragedies. The Chuar re- volt (in North-West region of Bengal)of 1799, the peasants' insurrection in the North Bengal districts in 1783, the sannyasi Bidroha in Birbhum and Bishnupur in the wake of the famine of 1769-70, the Hos' (of Singbhum) long resistance to the British from 1820-27, the combined rebellion of the Hos and the Mundas (Chhotonagpur) in 1829-32, and again in 1857, the Khasi rebellion (in Sylhet) in 1783, 1829, and 1860, the Santhal uprising (in Bengal and Bihar) in the 1850s, the Bhil revolt (in Khandesh, West India) from 1819-1831, the uprising of the Poligars in various areas along the eastern coast of South India, etc have gone down in folk memory in the form of tales, songs and verses. The year 1832 marked the first instance of Dhangar Kol uprising (Sonepur) and before long they were joined by Larka Kols of Singbhum. The Ho, Munda and Oraon of Choto Nagpur rebelled against the British. In 1895 the Mundas were in revolt, led by Birsa Munda. Birsa invoked the memories of 1832 and the solidar- ity of the tribal people during that uprising. "The valleys of Icha Hurang, Lango Lor, Domba Ghat and the upland of Jikilata in popular imagination had once resounded with the triumphs (though illusory) of the powerful combination of the Mundas and Laraka Hos against the British Raj as commemorated with pride in Munda folk songs." (Guha, ElementaryAspexcts of Peasant Insurgency, 176). These Munda songs were sung at the meetings of Birsa and his followers, during 1898-99, in order to stir up the spirit of revolt on the eve of the insurrection. A Munda meeting, held in March 1898 on Simbua Hill sang about the Kol revolt of 1832, 164 "O where are they fighting, shouldering weapons like the small ant? Conservation and Preservation: Some O where are they shooting arrows, carrying their weapons like the big ant? Ethical and Legal Issues O they fight at Bundu O they shoot arrows at Tamar (in Guha 176). You can find ballads on real folk heroes and real events like Veer Kunwar Singh (Bihar) who lived during the 1857 uprising and Birsa Oraon (Chhotanagpur) during Munda uprising. Ballads on Gandhiji's Non-cooperation movement are an example closer in history to our times. Check your progress 1 Note: 1) Your answers should be around thirty words each.
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